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Jack McCollough and Lazaro Hernandez approached their second collection for Loewe as an infinite game where the joy of creation never truly ends. They found a kindred spirit in the artist Cosima von Bonin, whose wry humour and soft sculptures of sea creatures and canines sat perched upon giant shoe boxes as spectators. This collaboration turned the runway into a playground of rigorous experimentation, blending the sun-drenched physicality of their debut with a more layered, nuanced curiosity. Every piece served as a celebration of craft pushed to its limit through industrial innovation.

For Autumn/Winter 2026, a liquid-like physicality defined many of the garments, particularly the slip dresses and pyjama tops that appeared as 3D-printed replicas cast in latex. These pieces had a viscous, slick quality that caught the light with every step, mimicking the flow of fabric while remaining strangely frozen in time. Coats underwent a similar transformation, with sleeves, pockets and fastenings meticulously moulded to create a trompe l’oeil effect. This play on weight continued with parkas and scarves that quite literally inflated with air. Using a specialised laser-cutting and bonding process, these volumes were sealed with airtight seams to create a silhouette that looked as light as a balloon.

Innovation extended into the knitwear and leatherwork, where traditional patterns were reimagined through unexpected mediums. Bouclé coats were not made of wool but from looped lacquered leather, while tartan sweaters and dresses were knitted using incredibly thin leather yarn. Pastel-dyed shearling was transformed into corduroy trousers and coats, with the edges gradient-trimmed to look like the meticulous grooming of a poodle. This sense of play was even present in the headwear, with triple-hooded hats on parkas that could be worn stacked one on top of the other.

Accessories celebrated the 180th anniversary of the house with a reimagined Amazona 180 bag. This icon appeared in a massive duffel size and even as a delicate porcelain recreation inspired by the hand-painted motifs of von Bonin. The new Whisker bag made its debut, offering a graceful combination of a structured top handle and a supple, slouchy body in glazed calfskin. On the feet, rubber-moulded sneakers and Dive slingbacks added a functional element to the vibrant, optimistic palette. 

The philosophy behind the collection drew heavily from James P. Carse’s 1986 book, ‘Finite and Infinite Games: A Vision of Life as Play and Possibility.’ McCollough and Hernandez used Carse’s distinction to frame fashion not as a win-loss industry or a race toward a finish line, but as a continuous, experimental process. By treating the runway as an open field for endless creative play, they ensured that the purpose of the work was simply to keep the game going.

Discover the Autumn/Winter 2026 collection here.

photography. courtesy of Loewe
words. Gennaro Costanzo

At Off-White, streetwear is never an excuse to be too casual. For the Autumn/Winter 2026 collection, creative director Ib Kamara continues to steer the brand toward a future where everyday wear and high-concept design exist in total harmony. The presentation felt like an invitation to a global party, celebrating a mix of cultures through a lens of modern utility. 

Vibrant shades of cobalt blue, safety orange and neon green popped against the antique backdrop of a Parisian school courtyard. Kamara experimented with proportions, featuring a baggy blue tracksuit, a zip-up hoodie and gigantic puffer jackets paired with ultra-wide cargo trousers. These bottoms appeared to be made from repurposed parachutes, complete with trailing straps and heavy metal clips.

The influence of the legendary Miles Davis and the fearless Betty Davis pulsed through the garments, serving as the core inspiration for the season. Kamara drew heavily from the 1970s jazz-fusion era, specifically referencing the 1973 album ‘Bitches Brew’ to create a mood of soulful disruption. Tailoring remains a central focus, especially for coats and blazers that appear in sombre shades of black and grey. A surprising twist emerged in the sleeves, where long, detachable puffy tubes took over the arms and reached all the way to the knuckles. The opening look introduced a patchwork trench coat crafted from washed brown suede, detailed with a bright red logo that stood out against the earthy tones.

Sensuality played a major role this season, with delicate lace details appearing in unexpected places. Brightly coloured lace was layered over light nylon dresses, creating a playful nod to the lingerie-inspired stage looks worn by Betty Davis. These dresses draped over the body like a second skin, offering a soft counterpoint to the industrial technical fabrics found elsewhere in the collection. Polka dots also made a reappearance through the signature Meteor eyelets of the brand. These circular cut-outs punctured everything from fitted tops to flared denim, turning a classic pattern into a tool for modern exploration.

Footwear added another layer of drama to the silhouettes. High lace-up stilettos in saturated hues of red and yellow wrapped around the ankles to finish the look with an unapologetic elegance. These were occasionally swapped for chunky, utility-driven boots that felt ready for a future city. The accessories remained bold, with large frames and graphic bags that mirrored the playful, childlike energy Kamara aimed to capture throughout the show.

Discover the Autumn/Winter 2026 collection here.

photography. courtesy of Off-White
words. Gennaro Costanzo

The wanderer found a sense of belonging within the cavernous halls of the Hôtel de Ville, shielded by the watchful eye of Yohji Yamamoto. His Autumn/Winter 2026 collection leaned into this nomadic spirit, blending a feeling of protection with the deliberate slouchiness of his signature silhouettes.

The construction of the pieces felt like a journey in itself, defined by an extreme approach to layering that transformed the models into walking sculptures. The designer moved away from anything resembling a standard fit, instead piling garment upon garment to create a sense of safety and depth.

Yamamoto reimagined the modern kimono in a way that managed to be both reverent and rebellious. Each look began with a stark foundation of signature black, providing a dark canvas for the vibrant prints of Katsushika Hokusai to emerge with sudden intensity. The nineteenth-century ukiyo-e icon was famous for his obsession with the natural world, and his energetic woodblock style brought a surreal, storybook quality to the heavy silk. These motifs, featuring everything from artistic flamingos to psychedelic stripes, were integrated into the silhouettes through meticulously constructed robes that appeared to defy conventional tailoring. 

Knotted fabrics gathered at the side of the body to create a rich physicality, while layered jacquard textures and subtle plaids added a spirited quality to the way the cloth moved. Models wore layers upon layers of knitwear, heavy coats and scarves that obscured the body yet flowed beautifully. You could see flashes of contrasting textiles emerging from beneath the heavy wools and silks. Austere knits were paired with skintight leggings and wooden geta footwear, a choice rarely seen beyond ceremonial settings.

The models’ hair provided a startling, ethereal contrast to the heavy textiles. Every head was crowned with a wild, frizzy cloud of hair, electrified and dusted with white powder to look like frozen smoke or gathering storm clouds. It looked as though the models had just stepped out of a powerful gale, their spirits as unruly as the fabric wrapped around them.

As the show progressed, the focus remained on the tension between the dark, heavy materials and the moments of exposed skin or lighter draped jersey. The way a silk sash trailed behind a heavy woollen coat or the manner in which a flared trouser leg caught the light spoke of a designer who still finds new ways to challenge our perception of beauty.

Discover the Autumn/Winter 2026 collection here.

photography. courtesy of Monica Feudi
words. Gennaro Costanzo